Brooklyn, NY 11211
SEVEN 2012Pierogi Gallery will feature works from Kim Jones' recent Averno series, which incorporate photography, acrylic paint, ink line work and collage, many of which have been made over a period of thirty years, along with his three-dimensional book-like sculptures ("These harsh and delicate drawings are gorgeous and repellant, ludicrous and vulnerable... They're Felliniesque, satiric, sardonic - like a punk take on old master classics." -Kim Levin, 2012); Dawn Clements' panoramic works including a large-scale Sumi ink drawing based on the film East Side, West Side; as well as recent work by Tony Fitzpatrick, Darina Karpov, John O'Connor, David Scher, Ward Shelley and Jonathan Schipper.
Pierogi will present work by the following artists:
James Esber, Execution, 2009
Esber's work continues to address notions of distortion and perception by mining the pawed-over icons of popular culture. Esber presents an array of visual puzzles; cutting, fragmenting and distorting found images before remaking them in calligraphic layered strokes of paint. His paintings invite the viewer to embrace absurdity or force a remedy by mentally bandaging holes and reconfiguring forms.
Jonathan Schipper, Slow Room, 2011
Schipper's work examines mechanical paradoxes and the interaction of art and technology.
Kim Jones, Chopsticks, 2010
Jones’ work incorporates performance, sculpture, drawing, and painting. He became known early on for his performance persona, “Mudman,” and could be seen walking the streets of Los Angeles and Venice, CA during the 1970s, and then during the 1980s in New York City and New York’s subway system, covered in mud, and wearing on his back a crudely constructed lattice-work structure of sticks, tape, and twine, his face covered with a nylon stocking. Over the years Jones has developed a language of materials and marks: sticks, mud, twine, rats, and “X” and “O” symbols. “Mudman,” and other figures that resemble the performance persona, inhabit his elegant and simultaneously grotesque drawings and paintings.
Ward Shelley, Fluxus Diagram, 2011
David Scher, From Bagnolo Series, 2011Scher's drawings are connected by their inclusion of letters and images. As suggested by his cryptic text, letters wander through these drawings, converging in a corner of one, creating a circular formation in another and, in yet another, a square volume suggesting the walls of a room expanding into the distance. Throughout, figures hover in the background and between the letters.
Patrick Jacobs, Raked Leaves Detail, 2011
Jacobs draws inspiration from sources as diverse as historical landscape painting and contemporary chemical companies’ home and garden pest control brochures, such as Chevon’s Ortho Books. Recalling the Claude glass, an optical device popular in the 18th century used to frame the picturesque, the lenses invoke the invisible eye of the wary homeowner searching an otherwise vacant domestic landscape for imagined interlopers. Ortho, Greek for “correct,” further alludes to the unending quest to control any divergence from the norm, as well as the manipulation of our sense of perspective. With such a fusion of influences, these quiet compositions offer a magical view of the mundane. Here, reality has been de-familiarized, and the uncanny has supplanted the commonplace.
Dawn Clements, 2010
Clements paints and draws characters and interiors from film, television, and soap opera, as well as interiors from her own domestic environment. Her large-scale works on paper, based on acute observation, reveal the wear and tear of her process—she folds and re-folds paper in order to work on a small flat surface in either Sumi ink, ballpoint pen, or gouache, then glues on extra sections of paper as needed until the work is complete.
John O' Connor, Drug Loop, 2011
O’Connor's drawing "Drug Loop" reveals the circular effect of popular medications and their side effects. He begins at the top with “headache” and takes as solution, Bayer Aspirin. He then randomly selects from among listed side effects, chooses a new medication to treat the side effect, and so on around a central circular shape-from “no sex drive” to “hyperactivity,” “anxiety,” and, finally, “agitation.” In the center of the circular shape, O’Connor overlaps drawings of a healthy brain scan and an unhealthy one showing signs of Alzheimer’s Disease. He treats the drawings as things growing organically, like fractals; a naturally multiplying system moving outward toward the symptoms and medicines.
Yoon Lee, Expansion, 2008
Lee develops her compositions by bringing together elements as diverse as images that she’s compiled from popular media, her own sketches, and photographs she’s taken of man-made structures. She scans all of these elements into the computer and uses various filtering mechanisms to manipulate the forms and capture the sense of motion in them. Whereas futurists attempted to capture the physical sensation of motion and speed of the newly invented automobiles and airplanes, Lee attempts to convey the sense of chaotic activity, intensity, and speed of contemporary life—not only in the physical world but also as experienced in the digital realm.